Ethno-Jazz
Ethno - Jazz is a first in the 1980s by the media applied and in its semantic content rather fuzzy term to designate areas of jazz, the process either elements of ethnic music or characterized by cooperation of jazz musicians with representatives of other musical cultures.
Ethno - Jazz is temporarily equated with world music, or they considered ( especially in the period prior to 1990 ) than its predecessor. The term first coming together (Popular ) music and jazz from non- or semi - industrialized countries. He is analytical little unfolded, but primarily serves the marketing of the music industry in countries like the U.S. and Europe.
The term " ethnic " must be in a more metaphorical " wide" sense is taken to mean and can not be related to a specific ethnic group in general. Characteristic is rather the lack of clearly defined styles and the simultaneity of different formal systems. Independent significance reached the ethno-jazz from about 1990 with the onset of globalization and later world-wide Internet, and especially commercial successes of ethnic bands and musicians. Be significantly from U.S. and European perspective Artists from emerging countries, especially from the new global growth centers of Southeast Asia and the People's Republic of China.
Development
In many global regions such as India, Latin America or Africa before that date corresponding music originated. Examples are the emergence of jazz through the partially assignable musical interaction between New Orleans and the Caribbean, the Afro Cuban Jazz 1940er/1950er the Arabic influences in jazz of the 1950s and early 1960s, Indian and Balinese influences in the music Don Cherry and rock Jazz of the 1970s and the importance of the South African Kwelamusik in the British jazz scene to name because of encounters with Chris McGregor and Louis Moholo. On the other hand, Jazz music has been around since the 1930's changed the music in various countries, Asia, Africa and Latin America. Here is just as noteworthy as the 1960s Mulatu Astatkes fusion of western jazz, Latin American music and traditional Ethiopian music Gato Barbieri or synthesis of free jazz, Argentine and Brazilian musica popular for the 1950 Kwelamusik South Africa. In Sweden, Jan Johansson remembered on the folk music of his homeland and put 1964 in front of the extremely successful album there Jazz på svenska. of the Indo- British composer and violinist John Mayer, who initially merged classical Western art music with Indian music, played in 1965 with Joe Harriott Indo- Jazz Fusions, a his with a sitar player.
Partially independent of these developments tried music producers like Joachim Ernst Berendt since the 1960s, thereby producing a direct crossover, where they established the motto jazz meets the world musical encounters of musicians from various countries of the South with jazz musicians. These encounters were working especially when the jazz musicians were getting on the tone languages of the respective scores. Here are the matches by Tony Scott with the Indonesian All Stars to Bubi Chen or John Handy ( and similarly by Charlie Mariano ) particularly emphasized with Indian musicians, but also the interaction of Ornette Coleman with the Moroccan master musicians of Joujouka: Coleman had " found an issue, a type of reef that was a perfect link between its idiom and her, and as he conducted while playing, he managed to weave this reef around a whole symphony of changing textures. and he developed the piece in three sets, so that it had a rich formal symmetry. "
Ethno-jazz means particularly from the 1990s, although jazz according to U.S. American and European opinion, but interspersed with typical musical features non- dominant cultures. These are, firstly musical traditions of non-North American and non-European regions, especially today's Southeast Asian and Chinese growth centers. However, they may also long marginal European traditions, such as the seed, the Roma, Sinti or alpine populations ( "Alpine Merger") his or traditions of the U.S. Native Americans, as in the plays of Jim Pepper exemplified with the Jazzidiomatik were connected.
Superficially ( from U.S. and European point of view ) ethno-jazz appears sometimes not as a jazz because, firstly, the themes are sound material from other things, on the other hand, originally characteristic elements of jazz such as the Swing missing. Also occur in addition to jazz influenced improvisation those based on foreign jazz, ethnic scales and meters and interval jumps. This is about the music of Rabih Abou -Khalil, a noticeable trend of Sainkho Namtchylak of Nguyên Lê, of Adrian Gaspar, Nana Simopoulos or by Dino Saluzzi. You may be missing in addition to the musical analysis still an appropriate measure of value in order to determine accurately when it is not to ethno-jazz and when.